#a ton of fan art and artists in their viewer base | Explore Tumblr Posts and Blogs

henshengs · 4 years

Text

About Rule 63 fanworks

I was asked yesterday to elaborate on my genderbend opinions, as a trans person, which I’m happy to do, and I’ve thought about it a bit today to make sure I’m not saying something off the cuff and not thought through. Still, this is a sensitive, complicated topic, and I’m open to discussion on it.

This also got long, so I’m putting it under a cut.

So, obviously I can’t speak for all trans people. No minority group is a monolith in our opinions and this is particularly the case for the transgender community because our experiences are so very diverse and individual.

I am very rarely hurt or offended by genderbends/genderswaps/rule 63 fanworks. I know people for whom this is not the case, and I believe the pain involved is very real. The thing is... living in this world is inherently kinda painful when you’re trans. This world’s not built for us. All kinds of random things can cause me pain throughout my day. Store mannequins. My own reflection. Lesbian poetry. Pictures of other trans people. When something triggers my dysphoria or feelings of alienation, I have to stop, acknowledge the feeling, and then consider whether the thing is, outside of hurting me, contributing to the ignorance of and hatred of people like me by its very existence.

I don’t think the basic act of asking, “What if this character who is a cis man, was a cis woman instead?” does that. I think if anything, it opens the door to then ask “what if he was a trans man? Or a trans woman? Or nonbinary?”

Asking “what if this story was about a cis woman” lets cis women talk about their experiences and see themselves in stories, something I think is valuable! and also can lead to stories exploring sexism and misogyny, things which affect all trans people too!

In the rest of this post I’m going to use the terms “rule 63″ and “genderswap” to refer to the act of creating a fanwork changing a cis/presumed cis man to a cis or not-specified-to-be-trans woman, because this is the vast majority of the work under that label, because most fictional heroes and iconic characters are cis men, and because people who create cis man->trans woman or cis woman->trans man content, in my experience, usually use terms like “trans headcanon” instead.

(A lot of rule 63 fanworks don’t explicitly specify that the now-female character is cis. We can presume that most artists aren’t even thinking about the possibility of the character being trans, but we can presume that for 99.99% of all art, anywhere. It’s not a unique evil of rule 63.)

The claims that rule 63 is inherently transphobic, rather than just something where it’s good to be extra careful to avoid transphobia, as far as I’ve seen, use two arguments: A) that making the character a cis woman is wasting an opportunity to make them a trans person, and this is transphobic, and B) that rule 63 fan art is gender essentialist and cissexist, because it ties gender to physical characteristics.

Argument A doesn’t hold up for me,

because couldn’t one then say that reimagining an abled white cis character as an abled white trans woman is racist and ableist? that reimagining them as an abled trans woman of color is ableist? No transformative reimagining can cover every identity. We say “write what you know” and talk about Own Voices, and that includes cis women who want to write about the experience they know.

It’s also not fair to tell trans people that we must always think about trans experiences, even in our fiction. A lot of the time we don’t want to have to write or think about dysphoria and discrimination and we want to live in the heads of cis characters or even just characters whose AGAB is not mentioned!

And it is also, imo, not a great idea to pressure people who may not be educated about trans experiences to write about trans characters just because they want to explore sexism or write about lesbians.

many, many trans people first begin exploring their gender identity through creating cis rule 63 content, because it’s ‘safer’ than directly engaging with trans content.

With argument B, I agree that a lot of rule 63 art looks like this

and this sucks. To me, though, it’s important that it’s not the genderswap aspect that makes it suck. Artists who do this are also designing original characters with sexist, gender essentialist designs. Artists who don’t draw sexist art in general, also don’t draw sexist rule 63.

(yes, I know She-Hulk is not a rule 63 of regular Hulk. But you guys know the kind of art I’m talking about.)

I’ve also noticed a genre of fanfic that’s like, “if these characters were girls, they’d be sensible and conflict avoidant and none of the plot would happen!” or “what if these violent, tragic male characters were Soft Lesbians who braided each others’ hair” and again, I assume these authors write canonical women the same way. The genderswap part isn’t the bad part, the sexism is.

Non-sexist rule 63 actually, in my opinion, fights gender essentialism and cissexism. When a character is exactly the same except for the ways a gender essentialist world has shaped and pressured them based on their AGAB, that’s a strong statement on the constructed nature of gender!

But the argument that making /any/ change is gender essentialist, is... I understand where it’s coming from. I am a trans person who presents androgynously and I am a hypervisible freak because of it. I would love to live in a society where visible gender markers weren’t a thing! Unfortunately, we don’t live in that society. We live in one where we are constantly under pressure to conform to one of two profiles. There are almost no gender non conforming male characters in popular media. And changing a gender conforming cis man into a gender conforming cis woman seems to me to be a neutral action at worst. Not to mention characters from historical canons, who would be under a ton of pressure to conform.

For physical body type characteristics... 65% of all speaking roles in Hollywood are cis and male. It’s harder to get statistics on other forms of media, but it’s undeniable that overall, most stories are told about cis men who do not have breasts or wide hips. Changing the story to be about a cis woman who has those features is introducing more diversity!

I typed “rule 63″ and “genderswap” into the tumblr search bar today, and I saw a lot of art of women with a variety of aesthetics and body shapes and characteristics, who looked like people I’d see out at the mall.

Again, I sure do wish we lived in a post gender society. But we don’t, and in our society, everyone, myself included, looks at a picture of a person and gender categorizes them based on appearance. It is not wrong for someone to draw “Geralt the Witcher as a hot butch woman” and give her some physical markers generally agreed upon to denote ‘butch woman’ rather than ‘gender conforming man’ to tell the viewer that that is what they have drawn. Just as it is not wrong to draw “my OC who is a hot butch woman who fights monsters” and give her those markers.

Finally, both arguments against genderswaps are, in my opinion, flawed because they implicitly posit the act of creating fanworks of the original, cis male gender conforming character design, as neutral. I think this is incorrect. I think that if you’re going to argue that drawing a cis male character as a cis woman is transphobic, you have to also argue that drawing the character as a cis man is transphobic. But I’ve only seen people do this when a trans headcanon becomes extremely popular in a fandom.

Again, I’m just one person. I’m also biased, because firstly, as I mentioned, rule 63 doesn’t usually trigger my dysphoria; secondly, I almost always come down on the side of “don’t limit what people can explore in fiction; ask them to explore it more sensitively or with more content warnings instead.”

I definitely encourage creators to seek out and listen to a variety of trans opinions. But this is mine: I love rule 63, I make a lot of it myself, and I think if no one created it we’d lose something awesome.

At the end of the day, what I really want is more trans content*, but I’d rather have cis rule 63 than just stories about cis men.

Also: I personally have nothing against the terms genderswap or genderbend. I don’t think it reinforces the gender binary to acknowledge its existence by saying you’re ‘swapping’ the character from being cis with one AGAB to being cis with the other. But I can definitely see the argument against it, so I don’t blame anyone for going with rule 63 instead.

If you made it this far, thanks for reading; I hope you have a nice day, and have fun creating and consuming the fanworks your heart desires. I’ll end by linking this comic, which is just eternally relevant.

(*by which I mean: trans content created by other trans people, that matches my hyperspecific headcanons, likes and dislikes, and doesn’t set off any of my often changing dysphoria triggers. See what I said at the start, about transgender existence being constantly mildly painful. There are many awesome aspects to being trans! This is one of the less awesome.)

#rule 63

61 notes · View notes

jadethest0ne · 3 years

Note

35! Go for it! ✨

Oh right, for this ask game! I had nearly forgotten about it XD

35. Ramble about any fic-related thing you want!

If there was one fic-related thing I’d want to ramble about it’d be specifically being a comic artist, and the different things I experienced going from the Pokemon fandom to the RotTMNT fandom as a comic artist.

I spent 5 years creating a Pokemon comic called “Liberty”, based on a nuzlocke playthrough of Pokemon Soul Silver (basically pokemon on hard-mode with permadeath involved for those of you who don’t know what a nuzlocke is). Meanwhile, it’s been just over a year since my first foray into creating comics for the Rise fandom.

The Similarities

The Disparity between Fanart and Fanfiction

Being a comic artist is odd sometimes because I basically do both fanart and fanficiton at the same time. I can understand and vibe with what a lot of both fanartists and fanfiction writers go through and deal with. This is why I feel like I can answer a lot of these fanfiction questions despite a good chunk of my story-telling being visual.

I am also aware of the disparity between fanart often getting a lot more eyes and attention than fanfiction. Deciding to write a piece of fanfiction instead of draw it out in comic format is often a calculated choice on my part, because writing prose takes more energy from me and often gets less rewards via views and interaction from readers. But despite it taking more energy, it takes less overall time for me to write something out than draw the same story, so I often factor that in when deciding which medium to create a story in.

I feel bad that a lot of fanfiction writers don’t get the attention that they deserve because of this disparity, so may I remind readers to please please PLEASE support your fanfiction creators and interact with their work! It seriously means a lot to them! Even a little message or a reblog will do! The main similarity between these two fandoms is this disparity, and I think it’d be awesome if we could get the number of interactions between fanart/fancomics and fanfiction to be more equal.

The Differences

I’m more popular as a Rise artist?

So, as I said, I spent 5 years making a Pokemon comic and 1 year creating a bunch of Rise comics. And yet I think I got more (or at least the same number of) viewers on my Rise comics in that one year than on my Pokemon comics in 5 years. I certainly got a similar number of followers, despite the differences in time. One of the main reasons for this is likely due to the social media platforms I posted on. I posted “Liberty” on deviantart and on the Pokemon Nuzlocke forums, the latter being particularly niche. As for my Rise comics and artwork, I branched out to other sites including here on Tumblr, Instagram, AO3, and Twitter (though insta got fewer comics due to the image size restrictions). The number and popularity of the sites I posted Rise artwork to are more than deviantart and that is likely a big reason. The other reasons for my increase in popularity may be for some of the other differences...

There aren’t that many comic artists in the TMNT fandom

I could probably name only a handful of consistent comic creators in, not only the Rise fandom, but in the TMNT fandom. And I mean the long-running, over-arching story type of comic creators. There aren’t that many of us. There are tons of artists and fanfic writers out there, yes, but very few that combine the two.

Meanwhile the Pokemon community has TONS. Especially the nuzlocke community. Heck, the Pokemon nuzlocke community started and was named because of a popular comic detailing the events of the creator’s nuzlocke challenge playthrough of Pokemon Emerald. You get a little bit more lost in the crowd amongst so many other comic artists in the Pokemon community, but at the same time have more people to learn from and relate to in that way.

My involvement with the Fandoms has been different

There’s been a lot of collaboration and working together among creators within each respective fandom. I feel like personally, a lot of my collabs with Rise creators has been a lot more direct and more personal than the kind of things I did in the Pokemon fandom.

For example, in the Pokemon comic fandom, it was really common to cameo each others’ characters in your comic, or include each others’ comics or characters in memes. This wasn’t always a planned thing, though we would ask each other for permission. I joined a Pokemon comic discord, but most of my interactions there and on other platforms involved brainstorming help. Not only that, but sometimes the community was a bit more competitive as well. For instance the Nuzlocke Forums would hold an “extravaganza” every year where folks voted on various categories to vote for the best nuzlocke (I won “Best Pokemon” and “Most improved” in 2018 :3 ).

Meanwhile with the Rise fandom, I did more things like art trades, collaborative art pieces, and zine work. These were a lot more direct and planned out and involved a bit more trust and interaction with other artists. I also became close friends with the folks in the discords that I joined as part of a Rise server, beyond just “fellow creator”.

As a result, I found myself doing a lot more serious artwork and even created other fics for the Rise fandom beyond just my comics, while when it came to Pokemon I stuck mainly to my “Liberty” art/comics.

More eyes, less interaction and visa versa

Again, this could be mainly a differences in what social media I’m using, but a big difference I found between readers of my work is that I got A LOT more people commenting on my Pokemon comic than on my Rise comics. I may be getting more views on my TMNT comics, but boy did I get more interaction with my Pokemon comics. I would get at least 5 people leaving these in-depth analysis or guesses of what would happen on each page for my Pokemon comic, not to mention the dozens of other reactions I would get in the comments. And despite that comic being on hiatus for a year, I still get some comments on it!

So, unless I know the commenter personally, I feel a little less involved with my readership with my Rise comics than my Pokemon one. Which is a little sad. I do appreciate you all who appreciate my work, but I feel like I appreciate you from afar and can only go “awww” at the things y’all leave in the notes or on the anonymous asks I get, instead of being able to thank you more directly.

Rise readers are a bit less patient

I get lots more people asking me “when the next page is coming” on my Rise comics and fics much more often than on my Pokemon comic. This virtually never happened with my Pokemon comic. Granted, I was way more consistent with “Liberty” and it had a set schedule, whereas my Rise comics/fanfics never have. But still.

I really DO NOT like those kinds of asks/comments. Please do not ask me when the next one is coming out. It makes me feel stressed and ashamed and pressured, which can create negative feelings around my work and make me less likely to finish them. I get that you’re excited, and that’s cool. But literally no one likes those kinds of comments.

For perspective, “Liberty”, my Pokemon comic, has been on hiatus for nearly a year and I’ve gotten maybe two comments to that effect, and they were newer readers who weren’t around at the time that I announced my hiatus and the reasons thereof. My “Liberty” readers have been so patient with me (bless them), and I feel a real loyalty to that kind of readership. I don’t know when, yet, but I really want to get back to “Liberty” someday, not just for myself or that story that I lovingly crafted, but also for them.

Pokemon was a hobby, Rise is a passion

Likely due to the fact that I have made a lot of close friends within the Rise community, and the fact that it has helped me immensely through this really tough year, I feel so much closer with the Rise creator community. Pokemon was a thing that I did for fun as a side hobby. My TMNT related comics and art have pushed me so much further in my art, gotten me involved in various projects, gotten me into creating animations, holy heck was I sucked into this fandom in such a short amount of time, and I love it so much.

I have been a fan of Pokemon since I was a kid, and I never thought I’d find a piece of media that would capture my attention and adoration as much. I think at a point when I was shifting from the Pokemon to the Rise fandom I said something along the lines of “I feel like I’m cheating on Pokemon with Rise”/j but it’s kinda true, haha!

In the end, both fandoms and the people in them mean a lot to me, and I’ve grown a lot from them as an artist and a person. I will be forever grateful to the other creators, readers, artists, writers, friends, collaborators, etc in both.

Thank you all very much!

#ask #ask game #ramble #long post #pokemon #rise of the tmnt #rottmnt #fandoms #fandom #community #thank you #jadethest0ne #nuzlocke #willowaudreykeyes

15 notes · View notes

the-awful-falafel · 4 years

Text

Rick and Morty - S4E6 "Never Ricking Morty" Podcast Summary/Breakdown

So y'all probably expected this based on how often I've been talking about these official companion podcasts. I recommend listening to them yourself either on the official Adult Swim YT channel or the official website, but I thought I'd go ahead and make bullet point breakdown of some key points for this particular podcast, because trivia and behind-the-scenes knowledge really appeal to me. And this episode is pretty divisive in the fanbase, so I think this podcast will assuage some fears even if you still personally dislike it in the end.

For some reason, the title of the podcast calls this S4E7 instead of episode 6. It wasn’t commented upon, so I assume either it was a typo or it was 7 in the production order and got swapped shortly before release.

The interviewed staff involved in this episode were Carlos Ortega (character design lead), Erica Hayes (director), James McDermott (art director), and Jeff Loveness (writer)

The idea of this episode was conceived in October/November 2018 as a "one-up" of anthologies and clip shows. They didn't want to do a straight anthology because many other TV shows had already done that, so they tried to go more experimental and bold and basically went balls-deep with the metanarrative as a result

It was a substitute for Interdimensional Cable (which they were going to do instead but it fell through for unknown reasons)

"We had to go so far up our own ass, because if we didn't go far enough, people would be mad that we didn't."

The writers intentionally mocked themselves as much as the fans, pretty much, and it was meant to be all in good fun

The artists really enjoy designing all the weird aliens in the show, as well as getting to reuse/repurpose them when applicable. Apparently next episode (Promortyus) is going to be reusing a lot of designs for something (but they obviously can't say due to spoilers)

Compared to other episodes, "Never Ricking Morty" went pretty smoothly once it got to the art stage. That doesn't mean it was easy, but there weren't a ton of revisions they had to do

There was a joking spoiler about Rick becoming pregnant later this season. At least I think it's joking.

While writing this episode, the writers came up with a huge whiteboard list of complaints about the show, misconceptions about the show, etc. to consult for the meta jokes. Loveness later clarified that it wasn't quite about attacking "complaining" though, and it wasn't meant to be mean-spirited

The Bechdel test skit came from them realizing they hadn't done much with Beth and Summer this season, which definitely can be considered a flaw. Therefore, as part of their self-mockery, the writers decided to force them crudely into the episode as a joke, while also making fun of men who write women characters poorly and reductively.

The Jesus Christ / Rick suddenly being Christian part was written in response to the writers asking themselves "what would kill Rick and Morty as a show?"

Jeff Loveness said this in the "Inside Never Ricking Morty" video as well, but he really loved the "old man is really ripped and ready to kick your ass" trope and is partially responsible for it becoming a running gag this episode along with "cum gutters". Apparently cum gutters return in season 5 (also said jokingly, so who knows)

One of the Q&A callers called multiple times, with different phone numbers, and kept asking about potential crossovers for some reason

"A lot of people are saying that the show is fucking with their fans. Is that accurate?" "I think some of those fans deserve to be fucked with a little bit."

They point out how some fans feel entitled to the idea they should be pleased by the show all the time, and the writers feel like the show should ideally surprise the viewers in a good way, but you still may not like every episode and that's alright

At the same time, the episode wasn't meant as an attack on the fans, it was more of a "we'll do this our way, be experimental, and push the envelope of what we can do" message they were sending. Jeff Loveness promises that there's "good stuff coming up" that he thinks the fans will be happy with, presumably in late Season 4 or even Season 5

"Just because we showed it this way and you'll probably never see it this way again, that doesn't mean we're dropping these storylines completely." There you go, everyone! The ongoing story threads are still happening at some point, and the message of the episode wasn't about dropping continuity or mocking people for caring about it. Although if you were hoping for resolutions similar to what was shown in this episode (Evil Morty w/ a giant army, Tammy VS Summer with lightsabers), those scenarios are almost certainly not going to happen canonically based on this statement. Let's hope that what they do come up with is both unexpected and awesome.

The episode is intended to be non-canonical, similar to past once-a-season clip show episodes like Interdimensional Cable

Story Lord was inspired by characters like Mysterio and Q, and the writers created him late in development as a type of villain they hadn't done before. Dan Harmon also put a lot of self-mockery into the character with how much he loved narrative structure and the story circle. The character artists even initially asked if Harmon could be the design for the character but that received an immediate "no", as it was perceived as being too on-the-nose.

Jeff Loveness was surprised the Rick/Birdperson musical made it to the final episode since it seemed like the sort of thing that would be cut or lost in development. He was also surprised the Jesus thing stayed in mostly untouched

The Story Train was intended to be an actually purchasable product by the time the episode aired-- the writers were emphatically excited about that being the culmination of the joke in the writers room-- and they were surprised that it didn't go through by the time the episode aired. They guess it's due to the coronavirus pandemic interrupting merchandising plans, but they're ultimately unsure because the decision isn't discussed with them

The artists do receive some limitations on how much gore they're allowed to depict, but they can show as much blood as they want, so for the most part they can still be creative with gruesome violence (like the Tickets Please guy ripping in half in this episode)

The artists are credited for elevating most of the fight scenes in the show, sometimes with only vague script direction which they use to be very creative

In response to a viewer calling in and asking the question about whether Pickle Rick will return: "I think there's a conversation to be had about: do we want these things to return or it better to do a one-off story?" So my take on this is that not literally everything will factor into the continuity-- they put thought into what ideas have more long-running potential and they build those up. Which is kind of obvious but the question was silly anyway. (They're still ambiguous about whether or not Pickle Rick will come back, by the way)

They aren't going to do an outright Star Wars parody in Rick and Morty because other shows have already done that, but they can still parody what Star Wars represents rather than doing a "branded commercial" for it. Apparently there is a lot of that specifically coming up this season (although indirect in the way they're describing). I assume this is referring to the upcoming "Star Mort Rickturn of the Jerri" episode, so I’m curious about how they’ll reference Star Wars in that one.

The COVID-19 reference this episode was thrown in last minute, presumably with just alternative dubbing and changing the lip sync animation. They say that sometimes episodes are still being worked on up until the moment they release on television. Referring to a previous episode as an example, the character of Shadowjacker from the dragon episode was thrown in last-minute

With the exception of James McDermott, most of the staff interviewed had no control or participation over the commercial product placement work, such as the Wendy's/Pringles commercials. They don't mind them for the most part and find them funny

The writers try to avoid being too topical because the scripts take so long to turn into animation that any references will become outdated by the time it releases. Therefore, they try to be "timely" in the sense that they're writing about things that are happening in the world, but in a more abstract/thematic sense. Jeff Loveness implies that the next episode Promortyus will have a lot of that

In response to another viewer Q&A: There is no Rick and Morty movie currently planned. They wouldn't mind one, but nothing is really in development at the moment

The staff say they're excited for the next batch of episodes and seem pretty proud of their work on this season

They don't plan on making a Rick and Morty musical episode at the moment, as they feel like other shows like South Park and the Simpson have done it excellently and don't feel like they're capable of doing it better. The Rick/Birdperson bit in this episode was the most we're going to get

The code inside the broken-off throttle lever was intended to just be a bar code decal (to show it's a toy) and doesn't actually mean anything. James McDermott jokingly said it's "where the bodies are buried"

The Rick army / Evil Morty scene was huge from an animation standpoint and they almost couldn't do it due to how ambitious the shot was. They were going for a "Lords of the Rings", faux series-finale vibe, where they "give the fans what they THINK they want". Justin Roiland insisted they do it

There are definitely more big animation setpieces planned for the future

And that’s it! I’ll probably do more of these for the future episode podcasts, if anyone is still interested.

#rick and morty #never ricking morty #companion podcast #q & a

18 notes · View notes

houseofvans · 5 years

Photo

SKETCHY BEHAVIORS | INTERVIEW WITH LAUREN YS

From large scale murals to multi-layered works on canvas, LA based artist Lauren YS’s art captures everything from the female experience, addressing topics like sexuality, death, aliens, monsters, and the occult. Her works are complex much like her own experiences, so we’re super stoked to find out more about what drives her, who and what inspires her, and what challenges and advice she has for our readers in this awesome Sketchy Behaviors interview..

Take the leap!

Photographs courtesy of the artist.

Introduce yourself. Hey! I’m Lauren YS - Hmm, something you might not know … I used to play ice hockey and my favorite candy are Peach O’s. I am a really good listener, but that also means I hate being interrupted. I dream, often, about being underwater.

Tell folks a little about your artwork and what do you love to make works about? I make work about the female experience, sexuality, identity, space, aliens, heritage, death, monsters, nature, emotions, natural phenomena, the occult and whatever else I might be obsessing about. I like slimy creatures, kitsch, psychedelia, sex and Halloween, and mixing repulsion with attraction. I want the viewer to feel unsettled as much as engaged. I make things in an effort to try to process the beautiful shit rocket that is the world around me.

When did art become something you were aware you could do for a living or as a career you wanted to pursue? I have always been making art, but I never thought it was possible to support oneself as an artist: It seemed really out of reach or surreal. It wasn’t until I had already been fully freelance for a year before I realized I was actually doing it. I think it’s just something that comes out of necessity, it’s like – if I want to keep making art as much as possible at the rate I am living, then damn, I’m going to learn how to make money off of it.

What’s a typical studio day for you like? I tend to work nocturnally. I’ll paint through the night and sleep through the day and watch horror movies, listen to podcasts about art, serial killers and cults, and eat anywhere from 1-2 sacks of tangerines every day. I like to really plow through paintings as well, it’s hard for me to stop working on something once I start. After about three weeks in the studio like this, your mind starts to wander off into deep strange places, and that’s when the really good stuff comes out.

What’s your studio or creative space like? What do you keep around to constantly motivate or inspire you? I have always worked best in a bit of “artistic chaos”–I like to fill my space with odds and ends, knick-knacks, items from my travels, talismans. I believe in the power of objects. I love my lava lamp and need to buy seven more. I also have this drawing I made of an Asian grandma screaming “DRAW, MOTHERFUCKER” which I plan to make into a screen print and give to all my artist friends.

When working on a body of paintings and works for a show, what is your process like? How long does it typically take you to complete a painting from start to finish? Depending on the size of the gallery, it can take anywhere from 2-6-10 months to create a show, given that it is often punctuated by mural tours and big projects to pay the bills. I like to work on lots of pieces at the same time, so generally it’ll take a few days to a week or two to finish a piece. I am trying to get better at reworking pieces rather than just pushing through them one by one. Workflow is still sorting itself out. I also make a ton of pieces that end up being nixed from the final show. I am very prolific but also very psychotic.

Not only do you work on canvas, but you are also known for some of your amazing murals! When did you start going from painting on a regular scale to large scale works? What’s your process like for mapping out these large works? Well shucks, thank you! I started painting murals around 2013, which was a sort of natural transition because I wanted to work bigger and bigger, I wanted to travel and be in the sun and use giant machines to make my art. I actually started learning color from using spray paint. I freehand everything because I like to feel independent of projectors or machines, especially if I’m in a foreign country or don’t have time or resources.

It makes me feel empowered to be able to make big things on my own. Maybe that comes from growing up under the common experience girls have, especially asian girls, where you’re expected to be small and quiet and obedient. I have always worked in active aggression against that stereotype.

Is there a medium you’d love to get your hands on, but yet to have the chance too? And what are your go-to materials? I’d really love to learn how to use an airbrush, a la Sorayama. Outside of 2D I am dying to get back into stop motion animation. My favorite brand of spray paint is Montana Black (high pressure forever!), and I use a wide variety of acrylics and gouache in my paintings, specifically the Holbein gouaches from Japan.

What do you love about where you live, and what is the art community like in your area? I never thought I’d move to LA, but I’ve been really enjoying it here. I’m a communal living person (been in and out of communities for about 9 years) and I am lucky to have found somewhere that fits with my work ethic (intense) and social vibe (weird). I like to be able to work alone while still having people bustling around and making things all the time. It helps me to feel like I’m not dead or a total solipsist.

I’ve also found that the artists in LA–especially the female artists–have proven to be really kind, generous and welcoming. There’s a lot of room for weirdos here; it might take a while to find them, but they’re here. We also have a one-eyed cat, did I mention that?

Who are some artists you’re inspired by and have influenced you throughout the years? I’m a big fan of dark/psychedelic/erotic artists like Keiichi Tanaami, Suehiro Maruo, Sorayama and the whole Ero Guro movement. I also love Goya’s dark paintings and the sculpture work of Bernini. Some contemporary artists I’ve been into lately are Christian Rex Van Minnen, David Altmejd, Robin Francesca Williams and the fabric sculptures of Do Ho-Suh. Jamie Hewlett, Swoon, Andrew Hem, Aryz. I find that my taste changes constantly and I am always thirsty for different influences.

What’s been the most challenging part of your art career? What’s been the most rewarding? What do you do to keep the balance? Something really challenging has been learning how to trust myself while growing in the industry and balancing business, work and travel. It’s a really solid test: moving to a new city, providing for yourself, going on tour, shifting from place to place, managing gallery work and mural work, all while protecting and nurturing your own ambition and positivity, and not feed into the shitstorm of capitalism and social media past what is required of you.

The muralist life is not for the faint of heart. I would hardly say that I keep any type of “balance”–art is my life and there isn’t much room for anything else, and that’s how I like it. It is the most rewarding thing to look around and feel like you’ve created something new and good and powerful, all on your own terms. It is similarly rewarding to feel the need to level up - I enjoy feeling stressed arguably more than I enjoy feeling accomplished.

What would your dream collaboration be? What do you enjoy most about collaborations with other artists or clients? I would love to do something with Takashi Murakami and/or his gallery (Kaikai Kiki Gallery). There’s also this amazing Australian animator named Felix Colgrave whose work I’ve been obsessed with lately, I’d love to find a way to make an animated short with him! I love collaborating - especially on mural work - because it’s such a cool experience to be able to intermingle your visual world with someone else’s. Working with ONEQ in Hawaii this year was really great, she had so many suggestions and ideas from out of left field that made me rethink my own work as well. It also forces you to relinquish some control on the way you work, and reflect on the basic joys of making shit in the first place.

If you could paint a portrait of anyone living or dead, who would you choose and why? I really want to do a tripped out portrait of Yayoi Kusama or Bjork or maybe Steve Buscemi—all heroes of mine.

What’s your advice to folks who see what you do and want to pursue art as a career? I would say, go at it as hard as you possibly can! Make sure you really enjoy doing it! Not all parts of painting murals are glamorous (actually, few are) and it’s important to truly love every part of it if you’re going to commit your life to it.

This means: hustling walls, handling machinery, travel, people, logistics, finding somewhere to pee, dealing with unexpected bullshit, not complaining, being comfortable handling yourself in dangerous situations, being independent and resourceful, etc. I have reservations about artists who genuinely don’t seem to enjoy all the elements of mural painting going too deep into it. But if it’s something you love, there’s nothing better.

What are your FAVORITE Vans? I’ve been rocking the classic authentic Vans in black/burgundy as paint shoes for years now. But I also love the Sk8-Hi boys in burgundy… I never wear them because I’m too scared to get paint on them, haha!

What other artists would you love to see interviewed for Sketchy Behaviors? I’m currently really into Andrea Wan, Louise Zhang and Caratoes. It would also be really cool if you covered a GNC or trans artist, like Nomi Chi or Laughing Loone!

What’s next for you that you can share? My first book is coming out this year with Von Zos, and I’m also going to be designing a tarot deck with them. April is my first mural tour in several months; I’ll be hopping from Australia - Guam - Peru, and then moving around South America for a while, trying to practice my spanish. After that, I’ll be starting work on my next big show, scheduled for a city in Asia, which I’m really, really excited about - keep an eye out!

FOLLOW LAUREN YS | WEBSITE | INSTAGRAM | SHOP

#Art #Vans #Vans Girls #Vans Art #Sketchy Behaviors #Interview #Lauren YS

422 notes · View notes

aftermathdb · 5 years

Text

DEATH BATTLE review: All Might vs. Might Guy

First Atlantis^2, then Widow^2, then Marvel^2, then ONE^2, and now Might^2.

(Holy Hell! I have exactly 100 screenshots for this episode!)

All Might′s Preview.

We open on a world where superpowers are common.

A world where schools are everywhere so that people can harness their powers.

These “Quirks” are varied, and some are… not that great.

But one aspiring hero would rise up to be the greatest hero around. Toshinori Yagi, who was given the greatest Quirk of all: One for All.

The hosts go over how badass this Quirk is. But more specifically how it’s the Quirk that can be passed down to other users.

Toshinori got his from Nana Shimura, and he became the ever-smiling All Might.

All Might keeps that smile on his face to ensure that everyone around him feels safe.

Thanks to All Might’s Quirk, he’s got everything from Super Strength, speed, stamina, and durability.

Aside from Boomstick’s apparent ability to manifest seafood, the hosts go over All Might‘s main powerset.

Interestingly enough, All Might’s tendency to name his moves after the US is kinda accurate.

For example, the Texas Smash and Oklahoma Smash both create forms of tornadoes. And guess what states are smack-dab in the way of those things?

But All Might can combine those States together in one extremely powerful attack: The United States of Smash. PLUS ULTRA!

The power of the USoS is actually quantifiable. Given the size of the storm compared to the buildings around it, the force would be over 11,000 tons of TNT.

All Might can also move at speed around Mach 29.

Now, here’s the thing: All Might’s doing a lot of this with a handicap. So these moves are still impressive. Since DEATH BATTLE takes a look at these characters in their prime, those are the stats that would be used. In his hayday, All Might would be 60 times more powerful.

He’s on par with many a fighter, like Nomu, whom he had punched 300 times in ten seconds.

Even when crippled, All Might’s proven exactly why he’s been the number one hero for years.

Might Guy′s Preview.

In the world of Naruto, there exists schools that train the best Ninjas around. These schools would essentially teach Ninjutsu and Genjutsu, or in Boomstick’s terms, Ninja Magic.

But one ninja doesn’t really have that. Rock Lee was never really that good at the whole “Ninja Magic” thing, so when he found a mentor, it was a good thing for him.

Enter: Might Guy.

Despite not having that great of skill when compared to the other guys, Might Guy and his dad opted to focus on one thing and become the undisputed master of it:

Punching people (Thanks for the description there, Boomstick).

Strong Fist is a subset of Taijutsu, or hand-to-hand combat. A hard martial art that is focused on breaking the bones of the opponent.

Only the toughest people can really use Strong Fist according to the hosts, and it comes with it’s own set of skills.

But it’s a really big double-edged sword.

And we get more into that double-edged sword by an animated segment.

Regardless, the technique Guy and Duy developed was the Eight Gates.

With these Gates, they can unlock a whole slew of crazy abilities by way of removing limits on the body. From mental inhibitions, to physical limitations.

Some of these Gates are safe to use. Numbers 1-3 are good to go, but once you go past that, you’re in trouble.

At Gate numero six, Guy moves so fast that his fists ignite the air around him and can be used as projectiles.

In order to ignite the Hydrogen in the air, Guy’s swinging at speeds at 40000 km/h.

For reference, that’s nearly five times as fast as the X-15 Rocket Jet, the fastest man-made jet that has been made so far.

Gate Seven is still relatively safe for Guy, according to the hosts, but the final Gate is a fatal attack.

That’s not some sort of “Battle Aura” you’re seeing around Guy, that’s his blood burning. With this, he can use… “Night Guy.”

Yeah, I’m a little unimpressed too.

This form was able to decimate Madara. You should know that guy by now. He’s the deadly villain that could take on Naruto and easily defeat him in base mode.

Naruto’s super modes are definately better that Guy’s best mode, but it’s also way better than Jiraya’s best move.

Guy is also a match for Kakashi, who could catch lightning.

Kakashi’s speed clocks in at around 763000 m/s, so Guy is definitely in that ballpark.

And with all the feats he has, he’s proven to be a badass through and through. It takes a lot to bring down this Mighty Guy.

… Yeah, the end quote doesn’t exactly inspire greatness, but eh, it’s probably iconic (Really sorry, not a Naruto fan).

The Battle Itself.

Torrian is back to head this project, All Might will be voiced by Kaiji Tang, while All Might was voiced by a guy named “Dick Splitter” (No, I’m not making that up). "Mighty” by both Brandon Yates and Therewolf sprite artist (If there are any), and audio lead by Chris Kokkinos.

Our fight starts with Guy sitting in a park, reading a bit of Manga. For those eagle-eyed viewers, you’ll notiice that he’s reading a My Hero Academia book. I’ve circled it for you.

Anyways, All Might drops in and does his dramatic enterance. After geeking out, Guy challenges him to…

An ARM WRESTLING CONTEST!

Which All Might readily accepts.

I want to go on record and say that this initial explosion is in essence, them just starting.

And can I also point out the absurdity in the ground being cratered before the table? Like what is that table made of?- Adamantium?

Well, my accusation is unlikely. The table breaks, and then the two duke it out. Not out of jealousy or because one of them accused the other of sabotaging the contest, but because they’re just that hammy.

So with the fight underway, these two go at it. It’s readily clear that All Might has the edge up in strength over Base Guy, but Guy is certainly faster given how often he dodges the attacks that All Might dishes out.

He even gets a perfect 10 on his dodging!

I want it to be known that Might Guy actually dodged this attack. He clearly has the speed advantage.

And these two just keep complimenting each other! Like, come on! Who am I supposed to root for here?

Anyways, Guy opens his Sixth Gate, which gives him an edge up over All Might.

And you want to know what’s better than a beam struggle?- A Barrage attack struggle.

What’s better than that?

When the barrages are fire vs wind!

They make an explosion that brings Guy to the ground, and he opens the Seventh Gate.

He unleashes his Daytime Tiger, and actually puts All Might on the defensive.

Here’s my question: How is it that all that power is being condensed in that one park? Those buildings should have destableized by now!

Anyways, Finishing Blow in

5…

4…

3…

2…

1…

Might Guy gets impaled! Well, it was a good run, and he certainly put up quite the fight…

And he’s also not done yet. We still have one more Gate.

REAL finishing blow iin

5…

4…

3…

2…

1…

You gotta wonder what the report by the authorities and news is going to be like.

Verdict + Explanation.

So, right off the bat, this fight actually is close. Guy’s Gates were really the big thing that was letting him keep up with All Might and his speed was certainly nothing to sneeze at.

Now, As for All Might, since DEATH BATTLE was looking at him in his prime, they had to scale accordingly.

All Might himself claimed that a fight he finished in 300 punches could have been done in 5. So that means that the All Might that is being used is 60 times stronger.

Take this feat for example, All Might’s foe Gigantomachia, once blew a hole through the mountain. Adding in the X60 multiplier, and All Might’s batting in the 154.8 Gigaton range.

However, Guy is still way faster, add in his better training and more versatile arsenal, Might Guy just needed to hit All Might harder than All Might could hit him.

All Might’s feat of changing the weather clocks in at about 1462 Gigatons of TNT.

Now, that’s impressive and all, but Guy hasn’t really shown his full power.

So we have to compare him to another person that we’ve seen all too many times before: Naruto.

Now remember: Base Naruto < Madara, and Night Guy > Madara.

As we’ve seen all too many times before, Naruto’s Base Chakra was enough to blow a hole through the moon.

How much force is that?

About 480 Petatons of TNT.

How much is a Petaton?

A million Gigatons. Simply put All Might > Might Guy, but Night Guy > All Might. Sure, Guy goes down not too long after using the attack, but he wins in the moment, and that’s what matters.

The winner is Might Guy.

Overall impression.

I came into this thinking “This feels more like season premiere material.” Something to hype up the crowd for the upcoming season. And I was right in the absolute most wrong sense of the word. The fight is spectacular, and it makes me want to read up on MHA. In all honesty, if this were a season premiere, everything after it would feel boring in comparison.

Now, admittedly, this was basically just a fistfight. A battle of who could punch harder than the other guy. Which isn’t very exciting on it’s own, but is still interesting given the characters.

Plus, given that no sane parent would ever give their kid the name “Richard” if their last name was “Splitter” I’m going to take a shot in the dark and say that this is the official VA for Guy.

I’m not going to link to his twitter, I’d rather he not get in trouble, but it’s still pretty cool.

Then again, my dad knew a guy named “Richard Head” so I guess the name “Dick Splitter” isn’t that farfetched. Who knows, maybe this is a real name.

Tangent aside, this battle was epic in all sense of the word. I’m sure there are a lot of references that I missed because of my lack of knowledge on these two, but it was a joy to see, and the music is awesome. Definitely looking forward to downloading it.

9.6/10.

Next Time…

I’m calling…

… Well shit. I don’t know what to call. But I recognize Miles Morales, Beerus, and Danny Phantom, so who knows?

Though the end colors for the start of Season 7 makes me think of… Harley Quinn.

Is there a fight that you want me to review? - Send an ask/request, and I’ll look into it!

Do you want to read my fanfic based around DEATH BATTLE itself? click here!

Thank you for reading, and I hope to see you next time for…

A DEATH BATTLE.

#Death Battle #Deathbattle #review

6 notes · View notes

love-takes-work · 6 years

Text

Steven Universe: Art and Origins (Outline & Review)

Steven Universe: Art and Origins is not just an art book--it's also a collection of early material, a reveal of many initial concepts, and an amazing experience to sort through.

Finally getting around to importing my review to Tumblr. I wrote this on the release day.

In my review I'll give you a description of the structure and overview, while also collecting notable information for fans. Obviously just about everything is "notable" with a book of this magnitude, so this may get long, but I'll try to include anecdotes that have some unique insight or perspective on the main source material--with as little of "OMG this was the original idea for this!" as possible.

This is illustrated with some low-quality pictures of the book and it gets super long, so I have to cut. But please read. :)

The overview:

After a foreword from Rebecca Sugar and an introduction from Genndy Tartakovsky, we get:

Part 1: Origins. This contains some narratives about Rebecca Sugar's early life as an artist--inspiration, family, college projects--all illustrated, of course, with childhood photos and early art. Rebecca mentions having wanted to bury her femininity for a while, but coming back to draw female forms and include dancing after she learned to sort through her issues using art.

Her college education and connections with other artists are discussed--some in interview format, some in narrative--and there is some background regarding her time on Adventure Time. The story moves on to talking about developing the pilot and what went into her character and plot ideas. Character design is discussed in depth, with Rebecca giving initial sketches to a design team and developing the characters' initial pilot look.

Some really slick promo art is shared--posters, sketches, great concepts that were designed to bring in new viewers and make them curious about the show. The pilot succeeded in getting the green light to develop it into a TV series.

Part 2 discusses the show's Green Light and Development. Rebecca and some of the other crew, in interview format, talk about getting the team together and allowing for both nailed-down character essentials and flexibility for the writers to explore and collaborate. Developing the setting was also a big part of the to-do list; coming up with Beach City itself, its businesses, its residents, and also the creatures the Gems would fight.

Some cute stories are shared about the early Crewniverse hanging out at a cabin and talking about the show all the time, hashing it out. There are some great, loose character model sheets for early versions of Greg, Connie, Sadie and Lars, and the four main characters.

Part 3 is about Character Design. They discuss how the pilot got released and fans grew attached to what they initially looked like, only to be "outraged" by the changes, making tons of assumptions about who was controlling the process.

Rebecca shares some thoughts on her development process and her philosophy on letting different artists draw the characters differently while gripping onto specifics she set. Main, palette, and distance models are discussed, with some technical details of what different artists do on the team and how they handle props or special poses.

There are many sheets of how to draw the Gems on model (with pointers on what NOT to do), and then there are some Homeworld Gem ideas that didn't get used, and finally, some sketches and concept art for Lapis Lazuli, Peridot, Jasper, and Bismuth.

Part 4 is on Writing and Storyboarding. More Crewniverse interviews provide insight into the process, including how much is revised from the early days and how collaborative everything is. Some specific episodes, like "Ocean Gem," "Monster Buddies," and "Island Adventure" are put into perspective with how they were written by the group.

There's heavy discussion of how the process works and why processes that work on other shows wouldn't work here, and what "rules" are firm and what's just a suggestion, and what's changed as the show's plot became more complex and important. Steven still having access to the "side" stories, the ones that involve Beach City humans and non-world-shaking stakes, is still very important to the story that the original Crew wants to tell. Cute images from the Crew's thumbnail storyboards, Gem designing, and technology designing workshops are shared too.

There's some good continued discussion of concepts in Part 4, especially about fusion and relationships and the larger message the show is sending. How do you tell a story and why? There are many answers to that, and sometimes it's about fun and sometimes it's about a message and sometimes it's about wanting to make an episode about something you've never seen a cartoon do before--something specific to you that other people can suddenly see represented.

One of my favorite parts of it is when they discuss Steven discovering the Gems' weaknesses over time and having that NOT make him think less of them--more like he admires them for being strong enough to shoulder the burdens he didn't know they were carrying before. Storyboarder Lamar Abrams talks about the importance of growing up not just being about becoming bitter, and I really like that.

Part 5 is on Sound and Vision. There's some history of how they found the voice actors for the major roles, and some of the actors give perspectives on their relationship and experience on the show.

Aivi and Surasshu, as the composers, discuss their process as well, with some anecdotes and discussions of why musical palettes work better for characters instead of assigning them themes. Places and objects have their own sounds too.

Part 6 covers Background Design and Painting. Steven Sugar takes the stage and explains general background thoughts as well as specifics for certain settings. His focus on detail is really fascinating to read about--it's really him who nails down the locations in Beach City and where an outlet is in a house on the wall.

The directors and other Crewniverse folks discuss the use of color and background items in the show, and how they use it to create mood or feel changeable enough to be real.

Part 7 discusses Animation and Post, with a spotlight on the work they do in Korea at animation studios Sunmin and Rough Draft. The process is described--how and when the material is transformed from animatics to animated cartoons.

Nick DeMayo discusses timing and adding the sound effects and whatnot. There's also some design instruction that's provided to the animators in Korea.

Some special highlighted drawings and pieces, like the "C.L.O.D.S." zine or some keys for Ruby and Sapphire, are included.

Even the bumpers and end tag animations are discussed here. And of course they had to mention a couple very special episodes, such as when Takafumi Hori from Studio Trigger came in to do "Mindful Education," or when they did the musical episode, "Mr. Greg."

And Part 8 is called "Onward." The intention of the section is unclear at first based on the title of the chapter, but you can quickly see they're discussing the forward-thinking message the show has--how its representation of its creators' experiences has also struck a chord with people who wanted and NEEDED its diversity.

Zuke says a very wise thing when they state that they want the show to provide "insight . . . not a solution." That's one thing this show does well; it spotlights problems and situations and feelings, but only shows you how those things can be dealt with, not necessarily how they SHOULD, in all cases, be dealt with.

Representation matters, and seeing evidence that you are a part of this world when you're from a marginalized or underrepresented group is valuable in a way that you can only know if you DON'T have it.

The show's writers also weigh in on good vs. evil and how it's too black and white; that we needed a show with nuance, and has a message of love and tolerance. Kat Morris acknowledges that there are more important things than making a feelsy and entertaining piece of media, but as she says, the point is to let people see themselves in something and be challenged.

And the creators are able to see at conventions and online that people are responding emotionally, viscerally, to their work. It puts a lot of pressure on an artist to do it right, but in the words of Dogcopter, "Just be true to yourself and people will appreciate your honesty."

The book closes with some photos of the Crew and a few more pages of art. And it kinda leaves you with a squishy feeling. :D

Notable:

1. I was relieved to see Rebecca state it plainly in the foreword: the items you see from the development phases of this show are not to be taken as canon or as "real" insights into how you should interpret it now. She specifically mentioned that she does not consider the Gems "girls" or "goddesses," and that was particularly important to me.

Throughout, you're supposed to see the contributed bits and in-development pieces in the context of what they were: early drafts, embryonic. We all become different from what we were even though we grew from it and may have roots in it still, but that doesn't mean you can point at the seed and say its flower is meant to be understood surrounded by dirt.

2. The original designs for the Gems fluctuated a lot, and in a couple cases even names flopped around. An early name for Garnet was "Onyx," and if you've seen the pilot, you know Pearl got her signature nose later and Garnet's hair took a while to become the splendid square afro. Amethyst seems to have changed the least.

Themes were given to them initially (like Amethyst being "flora and fauna," which you can sort of see in her pilot intro with her lying on big cats). You can still see some of the original intentions in how the ideas manifested, but the first ideas do not gel particularly well with what the show became.

This is particularly interesting because non-creatives commonly think creative people simply receive inspiration and birth their creations into the world wholesale. Inspiration exists, but it's much more common to take an inspired idea and REALLY WORK ON IT. This book's origins section does a great job showing how that works.

3. Some early sketched-out ideas for episodes seem very far from what would fit into the show now (such as an idea for an episode where Pearl is obsessed with the pizza guy??), but one seems to be the roots of "Bubble Buddies," which implies that Steven's original crush was "Priyanka" instead of Connie. (That's now Connie's mother's name.)

4. The pilot's title was "The Time Thing."

5. Initial notes for Garnet say she should have the coolest shoes of the three, that she's commanding and outer-spacey and also weird, and that she's inspired by Grace Jones, boy Michael Jackson, and Estelle in "I Can Be a Freak."

Initial notes for Amethyst insist on the "fanny pack" pouch and suggest her clothes are cut, her hair is in chunks, and she should have an animal theme with a wild texture.

Initial notes for Pearl indicate a desire to have her opposite Amethyst in her formal way of dressing and needing to have an outfit that would allow her to be hung upside down, possibly with a pearl stone theme for baubles in her hair. (Rebecca indicated she needed the most help with Pearl.)

6. Early versions of the show included the idea that the Gems might be trying to hide being Gems in public, and that they kept magic away from Steven for the most part instead of encouraging him to use it.

A "lost" episode about Steven summoning his shield (later incorporated into the episode "Gem Glow") had him saving Greg with it and dreaming about his mother, and having Pearl drive a crappy old car (later incorporated into "Last One Out of Beach City"). Rebecca and Ian reveal that the dream Steven had in it was used a little in "Rose's Room," and that a song called "The Meatball Sub Song" was involved which could have contributed to the show getting picked up despite that we never got to hear it. (Imagine that, Steven singing about food!)

7. There's a note in the early character design section that says "the girls can all turn into Steven" with an accompanying illustration of Garnet, Amethyst, and Pearl shapeshifted as him.

Cute, because we actually got to see them do this in the episode "Keep Beach City Weird" with the exception of Pearl.

8. Rebecca Sugar shares an anecdote about thinking there was a "best" way to draw that was objectively correct (influenced by some art-school stuff), and through that she arrived at the idea that Pearl was a cone, Amethyst was a sphere, and Garnet was a cube, because all of those things say something about who they are (pointedness, fluidness, stability).

She evolved from that idea to a more flexibile idea of how drawing works for different artists, but that was part of what helped her nail the characters down. Steven, eventually, was fixed to having a heart-shaped face.

9. The Tiger Millionaire and Purple Puma flyer shown in the episode "Tiger Millionaire," presented as something Steven drew, was actually drawn by Lily DeMayo (daughter of Nick DeMayo, animation director) when she was seven.

10. Guides are made for the Crew to use featuring reminders on drawing the characters. It's kind of adorable to see common drawing errors or misconceptions or inconsistent details discussed in a how-to format for the people who actually work there.

11. A timeline exists for the show and it encompasses TWENTY THOUSAND YEARS of Gem and human history. It was too spoilery to be in the book, but there is a LOT of lore that is laid down, and this tool mentioned in Part 4 established that this document is referenced often to make events make sense in the timeline.

12. It's been established before, but Amethyst's origin in Earth's Prime Kindergarten was not initially known as part of her character when she was invented, and that was discussed in Part 4 of this book--how the writing retreats the Crew takes to discuss the story sometimes result in huge revelations like this. "Oh, that makes sense, that's why we wrote her like that" is one of those things I recognize as a writer--you know a character has a certain vibe, but you don't know what explains it. You just trust that something does. And eventually, sometimes you find out what it is and it all makes sense. Interesting to know they did this with Amethyst.

13. "Lars and Sadie make out even though they're not together" was the basic idea for making "Island Adventure." And the original idea for "Onion Friend" had a "Grandma Shallot" character.

The writers sometimes play writing games to brainstorm, and those were shared. Some ideas for a story which was later used in "Future Boy Zoltron," covering Mr. Smiley's romance/comedy partnership with an old flame, were shared with more emphasis on the characters being lovers.

Garnet's part in the story was more explicit too, with her giving people future predictions that are not at all nice or gently delivered, and they have to shut down the business in the wake of Garnet's badassery. Weird.

Other ideas were used but not as they're presented, like one where Greg learns about fusion from the Gems (but witnessed the fusion of Pearl and Amethyst, not Pearl and Rose), and a complicated one where cross-Gem fusion is a new idea in a flashback and Rose wants Garnet to fuse with her to teach her about it but she's too unsure of her own fusion relationship as such to risk it. The idea was that Pearl would be jealous and Pearl, Rose, and Garnet would actually fuse in the episode. This has not been done in the show.

14. Rebecca Sugar apparently just pops up with concepts she wants the writers to work in. Like "I want Steven to be in a mushroom forest" (which hasn't happened yet) or "I want Steven to have cats on his fingers" (which, obviously, happened early on). Rebecca gets little concepts that are sort of dreamlike, and they figure out which episode they can put them in. Working those things in sometimes seems like as much of a priority as getting plot elements in!

15. I like that they dish a bit about the fan reaction to Garnet's Fusion status. They thought they were being a little too obvious to not get caught, but Ian said the fans figured it out and then got bored of the idea and decided it must be even more complicated than that. People were apparently worried that Garnet would be replaced by her component Gems in the story if she were to unfuse, but obviously since Ruby and Sapphire want to be together, that doesn't happen.

16. Kat Morris's "rules" as discussed in Part 4 are "Garnet never asks questions" and "the story has to stay in Steven's perspective." I love how strict they are about Garnet not asking questions (except in the episode "The Answer," though there have been a couple ~technical~ questions from her; she usually just finds a way to ask a question with a statement, like "tell me what you saw").

17. A great quote from Zuke on the incidentally queer content of the Gems' relationships and gender: "Personally, I'm happy to not have to think, 'I'm writing a character based on my queer experiences.' That would be so hard! I'm just writing from my perspective, and I happen to be queer. I think that's what makes the show feel natural when it comes to that. It's a fine line between defining something so that people are aware it exists, which is so important, but also letting it breathe, so it's not forever contained in a box labeled 'queer media.'"

18. In Part 5, Michaela Dietz relates her experiences as an adoptee to relate to what Amethyst deals with as an "adoptee" into the Crystal Gem family without knowing where she really came from or what it means to be a part of that. She's said this before in some other interviews and panels, so it's not new in general, but it's probably new in print. Deedee Magno Hall, who plays Pearl, obviously relates to Pearl's maternal nature.

19. Tom Scharpling and Charlyne Yi were voice actors that Rebecca specifically had in mind for her characters (Greg and Ruby respectively). Rebecca's illustrated letter to Charlyne explaining Ruby and Sapphire's relationship and Ruby's role on the show is really adorable.

20. Music nerds like me will very much appreciate the photographed notes on music motifs--the Diamonds each have a solfège syllable and a chord (White is F#M7/Sol, Yellow is BM7/Fa, Blue is EM7/Fa, and Pink is AM7/Mi), and Steven's powers and modes are coded with instruments and styles.

21. Some world maps provide new possible insights. Greenland in our world is Blueland in theirs. South America is called Pangea. Aqua Mexico is labeled about where Mexico is in our world. India is the Indian Islands. There's an Australia and a New Australia. A big sea in the middle of Asia is called the Tunguska Sea. Rose's Fountain is in Spain or Portugal; the Sky Spire and Strawberry Battlefield are in Norway; the Shooting Star Shrine is in the middle of the drastically different Asian continent; the Galaxy Warp is in the Tunguska Sea; the Lunar Sea Spire is off the coast of Canada; Mask Island is in the Atlantic near Beach City; the Comm Relay is in the Western United States.

22. It was known from interviews that Shelby Rabara (voice of Peridot) is a dancer and provided the foot sounds and coaching to create the short tap number in the episode "Mr. Greg." But what's great is here, there's a visual reference included! Photos of Shelby doing the dance are lined up next to the drawings of Pearl and Steven in the "Mr. Greg" number doing the steps! She poses in dance moves with her husband for the Greg/Pearl dance for "Both of You" too.

23. There's a really cute story in the last section about Amber Cragg ascending from fan to Crewniverse member through posting Pearl art in response to the pilot and eventually getting contacted to take a board test. That is the kind of thing so many online artists dream of!

[SU Book and Comic Reviews]

#steven universe #steven universe reviews #steven universe art and origins #steven universe books #rebecca sugar #myblog

116 notes · View notes

meeedeee · 5 years

Text

Vidding Linkspam May 28, 2019

I make monthly Vidding Linkspam posts on my Dreamwidth blog. Look under the “Linkspam” tag.

Announcements: Vid Recs: Submit Your Favorite Vids http://VidRecs.com Now open. Got Recs?

Announcements: LilacEdits — If you are a video editor on YouTube you can join... If you are a video editor on YouTube you can join my Multifemale collab I just started :)

Announcements: EoV | Elements of Vidding Contest | Round One: Why We Vid Remember that contest I was tweeting about a few weeks ago? Well, it's finally happening! Join now! https://t.co/9i9jK2UBZJ

Announcements: Looking for Vidders : Calling UK/Italian Vidders Looking for Vidders I'm at the early stages of developing a documentary on Vidding. I am looking for UK or Italian based Vidders willing to appear in the documentary and talk about their passion for Vidding. As a former Vidder I want to highlight how it can be entertaining for the audience to see their favourite shows in a new way and also how it offers the artists a chance to be creative as well. Many thanks, Carlotta Montella.

Conventions: FanWorks 2019 Vidding Panels! Vidding Panels at the Fanworks Convention, Aug 2019

Conventions: Looking for vids to Vienna Teng songs! https://fairestcat.dreamwidth.org/660760.html I'm VJing a Vid Show of vids to Vienna Teng songs at FanworksCon in August. I pitched it as "Come Out and Level Up: Narratives of Resistance as sung by Vienna Teng" but I'm taking a very broad definition of "resistance."

Meta: The mentor ship of vidding communities https://twitter.com/redimine/status/1128666188454801408 The mentor ship of vidding communities, either directly or through observation, is one of those things I really like about fandom I just wanted to draw attention to today. Thanks for the help and inspiration throughout the years!

Meta; "Vidding doesn’t have the accessibility of fan art or the group mentality of fan fic https://twitter.com/redimine/status/1131206313390805000 Vidding doesn’t have the accessibility of fan art or the group mentality of fan fic. Vidding asks a lot from it’s participants and, honestly? Unless someone already gravitates towards fan vids it can be incredibly hard to draw other’s interest.

Meta: "Vidding history is fascinating https://twitter.com/redimine/status/1131216530501451776 Vidding history is fascinating; in the begging my foremothers ran collectives because you'd need up to four or more VCRs and who could afford that?! Best to drag your fellow club members into learning how to trick technology into doing what you want.

Meta: vidders who see & hear music as movement & color https://twitter.com/Bonibaru/status/1132780458494910464 Reading it made me think of @Lumi_nation and other fellow vidders who see & hear music as movement & color, hear color as music, and so on. There are many of us. We don’t often talk about it outside of con suites and panels, but we exist in our special little universes

Meta: my youtube is almost to 500 subscribers... https://legalizesupercorp.tumblr.com/post/184993271630/my-youtube-is-almost-to-500-subscri… my youtube is almost to 500 subscribers....I’ve been making videos for like 11-12 years even though I took a break for like 4 years, but I’ve been working really hard, and even though I know that’s not a lot compared to the thousands other people have, but I’m really proud of myself for getting close to the milestone.

Meta: what is the ettiquette...… for making fanvids with fanart? https://skulkingwriter.tumblr.com/post/184443576987/dnd-and-other-mostly-audio-fandoms-wha… what is the ettiquette...… for making fanvids with fanart? What do you do, do you seek out and ask permission from each the artist to use their art in the vid? Is that a thing we do? Or do we assume if it’s online it’s OK and credit at the end? Asking permission seems like the polite thing to do. It also seems… very labour intensive.

Meta: making money from fanvidding is unethical. https://vimesbootstheory.tumblr.com/post/184950631342/hi-hello-making-money-from-fanviddin… #vidding #if I see another commissions post I swom to jon #it's not your goddamn footage

Meta: Vidder Feelings https://redscullyrevival.tumblr.com/post/185061507310/vidder-feelings I’ve got a lot of feelings about fan vids, as I am to have after finishing a project, and how it’s one of the

Meta: vid_bingo | Vidding Chatter https://vid-bingo.dreamwidth.org/3441.html Recently a lot of my DW and twitter feed have been discussing the Plotters vs. Pantsers approach to writing and it made me think about how I approach vidding. Sometimes I plan things out and sometimes I fly by the seat of my pants.

Meta: fail_fandomanon | FFA DW Post 1084 - Explain a canon from a vid/AMV https://fail-fandomanon.dreamwidth.org/368136.html?thread=2150748168#cmt2150748168 I think we haven't played this game for a while. 1. Someone posts a vid or AMV whether it be accurate ore misleading regarding canon content 2. People who haven't seen the canon watch the video and try to explain what the canon is about

Meta: fail_fandomanon | FFA DW Post 1086 - Explain a canon from a vid/AMV https://fail-fandomanon.dreamwidth.org/368886.html?thread=2153807862#cmt2153807862 Explain a canon from a vid/AMV Link a vid and others will explain the canon

Meta: Vidding Talk at Wiscon 2019 https://morgandawn.dreamwidth.org/1657257.html There’s nothing stopping fanvids, say, from being nominated for the Best Dramatic Presentation, Short Form at the Hugos. — SamHainPress reporting from Wiscon 2019

Meta: The appeal of fanvids (post from 2007) https://emily-shore.livejournal.com/119154.html?format=light Working on my list of ten desert island vids got me thinking about what it is that I love about vids. For me, an important part of the appeal is the chance that they offer me to see through other people's eyes.

Meta: Humble Opinions on Good Vidding (post from 2007) https://vidding.livejournal.com/1032639.html?format=light In my opinion, to understand how you make a good video, you have to take a step back and not look so much at what people have done but why.

Meta:Understanding Both Halves of Your Audience (post from 2008) https://morgandawn.dreamwidth.org/792472.html I have this idea for a panel...Vidders: Understanding Both Halves of Your Audience. And it would be a vastly over-simplified panel dividing the vidding audience into two "vastly oversimplified and somewhat random but let's just play along" groups: Kinetic Viewers and Narrative Viewers.

Meta: I’m frustrated with a vid project so I’m gonna https://redscullyrevival.tumblr.com/post/184509182140/im-frustrated-with-a-vid-project-so-… I’m frustrated with a vid project so I’m gonna blab to myself even though I’ve got my outline and concept written - maybe I’ll find some vein I’ve yet to tap this time around, I dunno. .....I’m making a ToS Star Trek vid with the concept being three layers of how the women of Star Trek are often times “bad”

Missing — I know this is a really long shot, but did you... https://mollyamory-again.tumblr.com/post/184790779123/i-know-this-is-a-really-long-shot-bu… did you ever happen to see a Pirates of the Caribbean fanvid set to "Walk the Walk" by Poe? I loved it

Technical: Best editing codec working in Lightworks & Windows? https://vidding.dreamwidth.org/390754.html For vidders who work in Windows and use Lightworks to edit, what codec works best for your editing? And what software do you use to convert your various kinds of source files into that desired codec?

Technical: Keeping Track Of Your Source https://teamhousestark.tumblr.com/post/185083799421/fanvideo-makers @ fanvideo makers Especially if your fandom has a shitton of source material (say, eight seasons, lol) how do you remember what episode different things happened in? Have you watched it a ton of times, do you keep a wiki open when making videos, or what?

Technical: The Ultimate Guide to Get Started As A Vidder (from 2016) https://thedailyfandom.com/vidding-ultimate-guide/ We have done plenty of research and added our own experience as vidders to create this super guide to get you started in this wonderful fan activity. This tutorial will help both beginners with no notions of vidding and pro vidders who are looking for some complementary tips and resources.

#vidding #fanvid #fan vid

2 notes · View notes

speremint · 6 years

Note

hi! i ADORE you and ur work, ive been kinda cheering u on in silence but im gonna work on being a more Obvious fan :P anywho sorry but i was wondering if you have any tips on starting a comic? Ive been wanting to for months but im a bit nervous on where to start on the story + art process!

First of all, thank you so much! I appreciate the support regardless of how vocal it is ❤❤❤

In terms of starting a comic, I completely understand the hesitance; it’s difficult to start a comic, and speaking from experience, motivation is one of the most challenging things you’ll deal with.

1. Support Network:

Find people who you can bounce ideas off of and will help you write/develop the story and characters! Support networks will keep you motivated and also act as a test audience for ideas so you can make sure your story is cohesive.

2. Planning:

It’s really easy to get wrapped up in planning, but keep these things in mind:

a. How many characters? What are their names, personalities, motivations, goals, careers?

b. What is the main issue they are dealing with? Why do they care?

c. What location/time period?

d. How long do you want this comic to be

I heavily recommend not doing a long story as your first comic; I kept trying to do these massive comic plots that involved a SHIT TON of world building, multiple main characters, and various plot twists, and this fucked me over so badly. I got too caught up in the tiny details and so stuck on certain things and characters having to happen that I never ended up drawing anything because I stressed myself out.

3. Understand that you will have to cut characters and plot points, and you must be willing to do so

A lot of issues I notice with other artists, and especially myself, is that you’ll have these characters that you desperately want to put into a universe together, or you’ll have this one plot point that you really, really want to do… and in trying to force pieces into the plot that don’t necessarily belong, you end up with a congested, awkwardly forced cast that don’t blend together well.

One of the most common things I’ve read with comic startups is to make your plot first, THEN make the characters, and while making Brimstone and Roses, I definitely can see why. Trying to bend a plot around precreated characters with their own backstories is a headache and a half, and can stagnate your progress.

More under cut

4. Understand that no idea is original, and THAT’S OKAY.

It’s hard to come up with something that’s never been done before, and while I’m not saying to just rip off someone’s story, I am saying that it’s important to get that no matter how hard you try, someone has done something similar before. This is okay though! Part of storytelling is taking a familiar thing and bending it or reinterpreting it so the audience can see it from a different perspective. Don’t be discouraged, be motivated and see how you can change your story.

5. Time Management and understanding format

Create a rough schedule and stick to it; comics are really fuckin’ hard to make. They take a LONG time, and can be difficult to get people interested in so it means that you will start with a small audience and have to build. If you’re using Webtoons, there’s already a large base on there of comic readers, but do know that it’s not guaranteed you’ll be an instant success and it’s hard work to grow an audience.

Bimonthly updates are suggested at least, just so that your comic doesn’t lay stagnate and the updates will make your comic appear more often on the ‘new’ page, which will lead to more viewers. A lot of people also like to read comics once they have a few episodes so that it’s not so painstaking to wait for updates.

Personally, I’ve been trying to do weekly updates, but I am also taking summer classes so I’ve tried to break up my workload into 1 day is for thumbnails and rough sketches, 2-3 days is for line art, 3 days is for coloring and posting.

6. Be passionate about your comic

It’s hard to say to be passionate about your comic whenever I just said that you shouldn’t use characters/plots you’re already invested in, but honestly? You really do need to love what you’re working on and the characters involved because otherwise it will be really difficult to get yourself to draw them constantly. Talk about the characters with your friends, do sketches for fun, just do ‘What If’ scenarios; get yourself involved with them and their personalities and it will be so much easier.

As for my process;

I have a synopsis of the entire comic written up already (so I know each arc and what will happen, and the character developments of all characters involved).

I then took that and broke it into arcs, and then the arcs into chapters. I take each chapter and estimate how many panels it will be and if it should be broken up due to length.

Once that’s done, I create a script like so:

I then do thumbnails on paper, which usually are stick figures and very fuckin’ ugly (always plan for the word balloons).

Then, on my computer, I do a rough sketch of all the panels and readjust as needed based on pacing

Then I just do refined sketch, lineart, then coloring, then the after effects (lighting, tonal variation, etc.), and finally add word balloons before slicing it up and uploading to Webtoons. I’m sorry; I’d give a more in-depth reveal of my process but it’s fairly straight forward and I don’t honestly have screenshots of the editing stages.

It’s mostly just a lot of time consumption and planning.

I hope this helps! And good luck with your comic! Feel free to bounce ideas off of me if you want!~

#Art advice #comic advice #mei responds #long post #comic writing #Anonymous

35 notes · View notes

beautshirt79 · 5 years

Text

Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt

Gentrification is becoming Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt . a new thing in the world of art. From the architecture and exterior facades we see in various areas of popular cities, to the similar brand logos of high-end brands, to the way many artists are now producing the same money-grabbing art styles. So, in a sea of art forms with little unique style, it’s refreshing to see different art forms take the spotlight even for just a brief moment. For many, it means taking a trip to prominent art museums and looking at masterpieces by the great artists. For others, it means waiting for Banksy’s next installment that’s bound to shock and catch his viewers off-guard. For me, however, it means visiting Aya Kato’s gallery and seeing refreshing art pieces that takes the art style of old Japan and marries it into the present through digital means. Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt, hoodie, sweater, longsleeve and ladies t-shirt

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Classic Ladies

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Hoodie

Je fais disparaitre le Whisky et toi quel est ton super pouvoir LongSleeve

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Sweatshirt

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Unisex Aya Kato is a Japanese artist born and raised in Japan Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt . Born on January 1982, she went on to study Visual Art Education and Graphic Design at the Aichi University of Education, a national university in Kariya. Her works have been featured in books and magazines published around the world, including the United States, Spain, France, Germany, Turkey, Russia, Taiwan, and Brazil. Based on her online profile, she has a long list of experience under her belt, both as an artist for her own artwork and for commercial purposes. As an artist, she’s had exhibitions from 2006 until 2012 around Europe, the United States, and Brazil. Her website shows an extensive background, working for TV, music videos, ads, books, illustrations, media, and even on product packaging. If you’re a fan of Tori Amos and have seen the music video for “Sleeps with Butterflies,” you might be surprised to know that it was Aya Kato who did the art for the video. Art Style You Can See More Product: https://hottrendtees.com/product-category/trending/ Read the full article

#JefaisdisparaitreleWhiskyettoiquelesttonsuperpouvoirshirt

0 notes

lovediva013 · 5 years

Text

Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Classic Ladies

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Hoodie

Je fais disparaitre le Whisky et toi quel est ton super pouvoir LongSleeve

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Sweatshirt

#JefaisdisparaitreleWhiskyettoiquelesttonsuperpouvoirshirt

0 notes

lovediva0303 · 5 years

Text

Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Classic Ladies

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Hoodie

Je fais disparaitre le Whisky et toi quel est ton super pouvoir LongSleeve

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Sweatshirt

#JefaisdisparaitreleWhiskyettoiquelesttonsuperpouvoirshirt

0 notes

lovediva1313 · 5 years

Text

Je fais disparaitre le Whisky et toi quel est ton super pouvoir shirt

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Classic Ladies

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Hoodie

Je fais disparaitre le Whisky et toi quel est ton super pouvoir LongSleeve

Je fais disparaitre le Whisky et toi quel est ton super pouvoir Sweatshirt

#JefaisdisparaitreleWhiskyettoiquelesttonsuperpouvoirshirt

0 notes

duckbeater · 7 years

Text

Frank Stella and Herman Melville at Kathy’s Retirement Party, pt. 1

Kathy was putting her things in boxes. This was on the 20th floor of the Ralph H. Metcalfe Building, and this was after nearly four decades of promoting nutritious foods and healthy communities. She had hoped to transition into retirement by serving in a part-time capacity before handing the baton to the next director of public affairs. Trump, however, had frozen hiring across federal agencies. She was done, and, she said later, for that she was glad to be done. I felt a little sad on her behalf. I think everyone feels a little sad at retirement parties.

Before passing through security, Daniel, Frank and I marveled at a cosmic debris-like sculpture that hulks in the open, two-story lobby: Frank Stella’s The Town-Ho’s Story. We were indulging in what has become ritual speculation, for the sculpture often provokes bystanders to wonder if what they’re seeing is trash and whether it’s soon to be carted off. (Still other visitors feel strangely moved by it, even awed, believing it to be a memorial exhibition of the rubble from 9/11.)

“Well,” said Daniel’s father, “Evan, don’t you think it looks like, what, like,” and he propped his fingers under his chin and gave the sculpture a final survey before saying, “some kind of, you know, big sad traffic accident?”

Stella personally oversaw The Town-Ho’s Story’s installation over two nights in 1993, probably with little regard for the feelings of the tenants who would try, day by day, to make their peace with its auguries of doom on their ways to the elevator bank. I didn’t know the name of the sculpture then (and therefor could not wrest much virtue from its craggy mish-mash surfaces), but we recalled with fondness the special enmity Daniel’s mother and co-workers still feel for the demolished monolith. I tried to repeat Janet Malcolm’s description of Richard Serra’s infamous Titled Arc (1981), another public sculpture the federal government had commissioned as part of its Art for Architecture program, and one certainly more despised.

Per Malcolm, Serra’s Titled Arc “brutally dominated” the plaza it had been sunk into, and “arrogantly [turned] its back on the bland fountain that had previously been the plaza’s focal point.” In a version of this impudence, The Town-Ho’s Story ominously surveilles the entirety of its lobby, and prevails upon the optimistic agents of the EPA, HUD, the FDA, and others, a melancholic cast regards the futility of governmental affairs. Like Serra’s work, Stella’s seems to “[confirm] the worst suspicions of the building’s federal employees as to the unlovable nuttiness of modern artists.” Ultimately, the skeptical employees won out against the obdurate Serra. Workers dismantled his 73 ton, 120 feet long, 12 feet high steel wall during a single night in March of 1989, after a protracted legal battle over the artist’s rights to first preserve, and then to forever hide, the rejected sculpture. To this day, its dismembered remains lay preserved in a Maryland storage facility. They will likely never be displayed as Serra intended.

Because it perdures, Stella’s sculpture confirms not only to federal employees, but a suspicious public, the unlovable bulk, waste, and darkness of our nation’s government. Is it a blasted hierophant carved out of the deep state, or a tatty spider spun from tax dollars? Why was Stella’s blasphemy saved? Kathy has told us stories about the sculpture’s installation, about the picketers and protests against it, the petitions circulated and op-eds written. I couldn’t help but feel, on my way up to the retirement party, that The Town-Ho’s Story did less to repudiate the efforts of our infernal democracy than to court its sympathies, to evince pity, even. It is not a wall but a pile; it does not block but rather looms, or lurks, and its ugliness is confusing rather than arresting.

So named for the 54th chapter from Herman Melville’s Moby-Dick (1851), The Town-Ho’s Story: With Postscript & The Gam (the sculpture’s full title) is not, on closer inspection, a ball of trash. At 18 feet high and 15 feet wide at its base, Stella has amassed an incongruous and imposing variety of steel and aluminum surfaces, in sheets, honeycombed, in pipes and netting, perforated, starred, scratched, and spun, thrown molten and finely soldered. Far from monochrome, the work has a pearlescent quality, a shine as fine as sunlight through mist, especially at its top, where paint glows in pinks and greens and blues. It is a torrent, a shipwreck, a whale spout, a skull. There’s an articulated fishy fin at the bottom, and at the top a geyser plumes. It has an interior cavity, riven open, suggesting a braincase emptied of its spermaceti. Or a disturbed tomb.

This ambiguity precipitates from the materials and methods of Stella’s production. The artist Robert Linsley, reflecting on a 2012 Stella retrospective at the Kunstmuseum Wolfsburg, helpfully supplies: “The crux of the Moby Dick series […] is that Stella is a montage artist. His works are assemblages of self-contained parts and his art is to dissolve them into a new whole. Like many other practices with the same principle it is a matter of taste and judgment to what extent the differences between the elements remain and to what extent their links to each other grow stronger and more apparent.” If you see in The Town-Ho’s Story a car’s crumpled exhaust system, fan blades, and refrigerator coils, and they amass into a sepulcher, so much the better. Less helpfully, Linsley exhorts viewers “to identify the factory made shapes invented by Stella and used in different combinations from work to work, where they are cut, bent, fragmented, doubled, painted on and over, etched and corroded, used as stencils for negative shapes and finally linked by association and repetition with Melville’s original. This is not easy to do—it entails close acquaintance with many works and many acts of comparison.”

“This is not easy to do.” The percentage one could say is representational or allusive in the The Town-Ho’s Story I’d quantify in the low-teens; what remains is abstract and associative. Its brief, explanatory plaque vaguely states that “[t]he work’s materials and character reflect Chicago’s industrial origins” (as if a weak synecdoche illuminates at all a heap of salvaged metals), but if one is further tempted to connect the work’s title and form, then one has resigned oneself to the morass of Stella’s late-career critical reevaluations, the general gloom and insanity of Melville scholarship, and of course the blinding depths of the novel itself.

6 notes · View notes

houseofvans · 6 years

Photo

ART SCHOOL | VANS HOUSE PARTIES | DREW REYNOLDS

We’re excited about the upcoming Vans House Parties in Brooklyn, featuring Slowdive on June 30th. Not only are we excited about the music, but also by the installations and visuals experiences that will be provided by artists Drew Reynolds and Ivan Seal. We had a chance to chat with photographer Drew Reynolds who has worked with bands like Slowdive and The Kills as well as magazines like Pitchfork and the Rolling Stones. We find out more about Drew’s photography, what he’s prepared for VHP that night, and about some of his favorite photographers in this Art School with Drew Reynolds.

Photographs by Jonathan Mehring

Could you introduce yourself? My name is Drew Reynolds, and I grew up in the suburbs of Chicago. I’m currently based in Brooklyn and have been here for nearly three years. I’ve been fortunate to photograph musicians and other artists for Rolling Stone, 4AD Records, Red Bull, MTV, BuzzFeed, Pitchfork, and Microsoft. I’m also a competitive distance runner with the North Brooklyn Runners, and just recently placed 3rd for my age group at the Brooklyn Half Marathon.

I also have an amazing twelve year old pit bull mix named Cleo.

Can you tell us a little about your background? I discovered photography in high school, went to undergrad at Columbia College in Chicago, and then did some assisting and a ton of black & white lab work before moving to Los Angeles for a four year stint, honing my skills in music photography. I missed the city, so I moved back to my hometown, Chicago. Since moving to NY, I feel my work has excelled, and I’m psyched to say that I’m working with a couple photo agents.

For the upcoming Van’s House Parties, what will you be preparing for the folks coming that evening? What should they expect? Any surprises? I will be projecting portraits from my ongoing personal series called “The Panel Project.” They’re individual portraits of band members to create a grid / panel. The final piece resembles a “proof sheet” that play with my roots in film photography.

Some of the artists I’ve worked with are Slowdive, The Kills, The Radio Dept., Sneaks, Saul Williams, Run The Jewels, Autolux, MØ, and Manchester Orchestra. Viewers should expect BIG portraits that will be constructed as they’re being projected. I’m excited!

What are you looking forward to the most at VHP’s that evening? I’m super excited to share the night with friends. Seeing Slowdive for the sixth time, and photographing them again. They’re incredible people.

Who are some photographers’ works that you really admire? What about their works really hits a cord with you? Irving Penn, his portraits are breathtaking. They make you stop, explore, and examine.

Autumn De Wilde, she captures music lifestyle and portraits on location like no other.

Simon Larbalestier, he with the design of Vaughan Oliver influenced me to pursue photography as a career. They created album covers & posters for 4AD artists- Pixies, Dead Can Dance, Red House Painters and others.

What are some of your favorite things to photograph and why? Musicians, artists, and runners. Because they all inspire me to be a better artist and runner.

What is your favorite thing about what you do? What do you do when you’re not photographing or working on your craft? My fave thing about what I do is the variety of people that I’m able to meet being a photographer. When I’m not shooting or working on my craft, I’m most likely running, rock climbing, or hanging out with my love and our animals.

Give us your best tip? What do you think every young photographer should know? Photograph what you’re passionate about, and try to build a body of work from those images.

Lots of times music helps folks stay inspired, what are you listening to when you’re working on a project? Lately… Beach House, Slowdive, U.S. Girls, Chromatics, Cocteau Twins, and Wild Beasts.

What are your favorite Vans? Sk8-Hi Pro. So cushy.

You’ve taken portraits and photographs of various personalities and people, who has been your favorite subject and why? Slowdive, because I’ve been a fan of their music for over twenty years. I just photographed U.S. Girls again… she’s always amazing.

FOLLOW DREW | Instagram

#Art #Vans #Vans Art #Photography #Drew Reynolds #Slowdive #Vans House Parties #HOVBK #interview

39 notes · View notes